{"product_id":"lovers-robert-lohman-c-1969","title":"Lovers - Robert Lohman, c. 1969","description":"\u003carticle class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"b4b4e1d1-7f85-478b-ad26-490320b8c976\" data-testid=\"conversation-turn-6\" data-scroll-anchor=\"true\" data-turn=\"assistant\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"ba5e0f6d-53ed-43ac-8dd3-bccf9fc79f84\" dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" data-message-model-slug=\"gpt-5-2\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"rte-table-wrapper\"\u003e\n\u003ctable width=\"100%\" style=\"width: 98.087%;\" height=\"1543\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong data-start=\"0\" data-end=\"53\"\u003eArtwork Description\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLovers\u003c\/strong\u003e\u003cbr data-start=\"53\" data-end=\"56\"\u003e\u003cem data-start=\"56\" data-end=\"88\"\u003eRobert Lohman, c. 1969\u003c\/em\u003e\u003c\/p\u003e\n\u003carticle class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"b4b4e1d1-7f85-478b-ad26-490320b8c976\" data-testid=\"conversation-turn-6\" data-scroll-anchor=\"true\" data-turn=\"assistant\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"ba5e0f6d-53ed-43ac-8dd3-bccf9fc79f84\" dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" data-message-model-slug=\"gpt-5-2\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"7dbb9ce6-002d-4a76-84f7-6af88d3e62f9\" dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" data-message-model-slug=\"gpt-5-2\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\" data-end=\"2102\" data-start=\"1706\"\u003eIn \u003cstrong data-end=\"1719\" data-start=\"1709\"\u003eLovers\u003c\/strong\u003e, Robert Lohman divides the sheet into two distinct but connected worlds. The lower section contains the recognizable human subject: two figures pressed together within an oval enclosure. Above them, the composition opens into broad, floating areas of green, blue, and violet that are far more abstract. The tension between these two zones is one of man and one of nature.\u003cspan class=\"PDq2pG_selectionAnchor\" aria-hidden=\"true\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-end=\"2441\" data-start=\"2104\"\u003eThe lovers themselves are small in relation to the overall page. Lohman could easily have enlarged them and made the embrace the dominant visual event, but instead he gives them an intimate scale. They feel private, almost hidden within the larger field. The viewer must move closer and look carefully before the two bodies become clear.\u003c\/p\u003e\n\u003cp data-end=\"2882\" data-start=\"2443\"\u003eOne figure appears to lean over the other, their faces meeting near the upper center of the oval. The bodies below are folded tightly together, with limbs crossing and disappearing into shared contours. Lohman does not carefully assign every arm and leg to one person. That uncertainty feels intentional. In an embrace, the physical boundaries between two bodies become harder to follow, and he allows the drawing to carry that experience.\u003c\/p\u003e\n\u003cp data-end=\"3289\" data-start=\"2884\"\u003eThe central oval is one of the work’s most important elements. It frames the couple like a miniature portrait or devotional image, but it also carries more bodily associations. It may resemble a womb, egg, seed, or cell as something that is designed to contain, protect, and allow life to develop. The lovers therefore appear not only physically close but sheltered within a separate environment of their own making.\u003c\/p\u003e\n\u003cp data-end=\"3669\" data-start=\"3291\"\u003eThe green surrounding the figures strengthens that sense of protection. It is soft and translucent rather than dense, allowing the bodies to remain visible through it. Lohman avoids using a heavy border that would make the oval feel rigid. Instead, the enclosure feels permeable, as though intimacy creates privacy without entirely cutting the couple off from the outside world.\u003c\/p\u003e\n\u003cp data-end=\"3969\" data-start=\"3671\"\u003eAround the oval, orange lines curl upward and outward in repeated waves and spirals. These are the roots of the abstract tree builds its foundation on and what surrounds the lovers. The warmth from the roots contrasts with the cooler blue above, giving the lower section a more bodily and immediate feeling.\u003c\/p\u003e\n\u003cp data-end=\"4243\" data-start=\"3971\"\u003eSmall blue and violet lines move among the orange forms. This prevents the surrounding field from becoming straightforwardly fiery or decorative. The different colors overlap like emotional currents—desire, comfort, vulnerability, and uncertainty occupying the same space.\u003c\/p\u003e\n\u003cp data-end=\"4532\" data-start=\"4245\"\u003eSeveral orange vertical lines rise directly above the lovers, creating a narrow bridge toward the upper half of the composition. They are the striations of the trunk. Visually, they connect the intimate physical scene below with the larger abstract forms above.\u003c\/p\u003e\n\u003cp data-end=\"4901\" data-start=\"4534\"\u003eThis connection suggests that the embrace has significance beyond the two bodies. Their intimacy may generate the expansive tree forms overhead and may contribute to the larger emotional world in which the relationship exists. Lohman does not explain whether energy is rising from the lovers or descending toward them, and that ambiguity keeps the image open.\u003c\/p\u003e\n\u003cp data-end=\"5172\" data-start=\"4903\"\u003eThe upper section is dominated by large pale-green shapes surrounded by blue. These forms are soft, rounded, and organic. They make up the leaves and fullness of foliage in the tree. The form at the upper left bends and narrows as though two shapes have joined together. The upper blue field gives the composition a sense of depth and distance. Its irregular edges gather around the green forms as sky. Lohman leaves areas of the paper visible, allowing the color to breathe rather than turning it into a closed background.\u003c\/p\u003e\n\u003cp data-end=\"6565\" data-start=\"6140\"\u003eThe broad watercolor-like passages contrast with the fine, searching lines used to describe the lovers. The figures require attention and close looking, while the upper forms can be absorbed immediately as large areas of color. This difference in handling mirrors the difference between personal experience and emotional atmosphere: the embrace is specific, while the feeling it produces is expansive and difficult to define. This is in line with Lohman's focus on the human form. \u003c\/p\u003e\n\u003cp data-end=\"6960\" data-start=\"6567\"\u003eThe composition is unusually vertical for such an intimate subject. Instead of arranging the lovers horizontally in a bed or reclining pose, Lohman places them near the bottom and allows the work to rise above them. This vertical structure gives the embrace an almost aspirational quality. The figures are grounded in the body, but the image extends into something dreamlike and less tangible.\u003c\/p\u003e\n\u003cp data-end=\"7325\" data-start=\"6962\"\u003eThe date, 1969, places \u003cstrong data-end=\"6995\" data-start=\"6985\"\u003eLovers\u003c\/strong\u003e alongside a period in which Lohman was exploring more dramatic abstraction and color. His \u003cstrong data-end=\"7099\" data-start=\"7086\"\u003eElectrism\u003c\/strong\u003e, also from 1969, turns the page into a sharp explosion of competing planes and nervous energy. \u003cstrong data-end=\"7205\" data-start=\"7195\"\u003eLovers\u003c\/strong\u003e uses abstraction in a very different way. The color does not break the figure apart; it gathers around and protects it.\u003c\/p\u003e\n\u003cp data-end=\"7670\" data-start=\"7327\"\u003eThat contrast helps reveal the flexibility of Lohman’s visual language. Angular fragmentation could describe speed and overstimulation, while soft organic forms could communicate intimacy. He did not treat abstraction as a single style applied to every subject. He changed its emotional function depending on what he wanted the viewer to feel.\u003c\/p\u003e\n\u003cp data-end=\"8028\" data-start=\"7672\"\u003eThe couple also relates to Lohman’s recurring interest in lovers and paired figures throughout his catalog. He often used the human relationship as an opportunity to challenge the boundaries of anatomy. Bodies overlap, merge, and become difficult to separate, but they usually retain enough individuality to preserve the emotional importance of connection. The lovers do not completely dissolve into one anonymous body. Two heads remain visible, and the differing direction of their torsos suggests two distinct physical presences. Their closeness does not erase identity; it creates a shared form around it.\u003c\/p\u003e\n\u003cp data-end=\"8661\" data-start=\"8309\"\u003eThere is also a quiet sense of vulnerability in the image. The lovers are exposed through nudity and small scale, yet the oval and surrounding movement make them feel safe. Lohman presents intimacy as both surrender and shelter to nature. To embrace another person is to become vulnerable, but it can also create a space in which that vulnerability is protected.\u003c\/p\u003e\n\u003cp data-end=\"9054\" data-start=\"8663\"\u003eThe work avoids sentimental facial expressions or familiar romantic symbols. There are no flowers, beds, hearts, or narrative details. Instead, Lohman trusts the physical arrangement of the bodies to carry the subject. The title tells us they are lovers, but the composition shows what that means emotionally: enclosure, shared weight, warmth, and the temporary removal of the outside world.\u003c\/p\u003e\n\u003cp data-end=\"9556\" data-start=\"9302\"\u003eThe loose quality of the medium gives the work tenderness. Color bleeds gently at the edges, lines remain imperfect, and the figures feel discovered rather than rigidly designed. This softness prevents the image from becoming overly symbolic or clinical.\u003c\/p\u003e\n\u003cp data-is-only-node=\"\" data-is-last-node=\"\" data-end=\"9904\" data-start=\"9558\"\u003e\u003cstrong data-end=\"9580\" data-start=\"9570\"\u003eLovers\u003c\/strong\u003e presents intimacy as its own environment. The couple is not simply placed within a landscape; their closeness appears to generate one. Lohman allows the embrace to expand upward into color, atmosphere, and organic form, suggesting that love can begin with two bodies while creating a space far larger than either one alone.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n-\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eJonathan Flike\u003c\/strong\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/em\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"8106\" data-end=\"8414\"\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong data-start=\"8106\" data-end=\"8123\"\u003eRobert Lohman\u003c\/strong\u003e\u003c\/span\u003e was an American artist associated with Indiana modernism, recognized as both a sculptor and painter. The National Gallery of Art identifies Lohman as an American artist, 1919–2001, and holds examples of his 1966 bronze medallic work created with the Medallic Art Company in its collection.\u003c\/p\u003e\n\u003cp data-start=\"8416\" data-end=\"8993\"\u003eLohman worked across a wide range of media, including watercolor, oil, wood, plaster, ceramics, and bronze. Biographical sources identify him as a portrait and figure sculptor as well as a painter, with formal study at the John Herron Art Institute, Cranbrook, and Yale. He assisted the noted sculptor Carl Milles at Cranbrook Academy and later served as Director of Fine Arts at Cranbrook from 1947 to 1949. Lohman also taught at Washington University in St. Louis and the Indianapolis Art League, where he remained connected to art education and regional modernist practice.\u003c\/p\u003e\n\u003cp data-start=\"8995\" data-end=\"9475\"\u003eHis work often moves between figuration and abstraction, reflecting the eye of a sculptor and the freedom of a modernist draftsman.\u003c\/p\u003e\n\u003cp data-start=\"8995\" data-end=\"9475\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eUnderrepresented Artist Information\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"8995\" data-end=\"9475\"\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eRobert Lohman\u003c\/strong\u003e\u003c\/span\u003e may also be understood within the broader history of underrepresented LGBT artists in the American Midwest. Documentary records connect him closely with Jerrol T. Davis of Indianapolis, who served as Secretary-Treasurer of Robert Lohman, Inc.; Davis’s obituary confirms his role in Lohman’s company, and later memorial sources identify him as Lohman’s spouse. While historical records from this period often leave same-sex relationships only partially documented, the available evidence points to a significant personal and professional partnership that adds important context to Lohman’s life and legacy.\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eCustom Shipping Notice\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eN\/A\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eInformation\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eStyle: Modern\u003c\/li\u003e\n\u003cli\u003eSubject: Scene\u003c\/li\u003e\n\u003cli\u003eYear: 1969\u003c\/li\u003e\n\u003cli\u003eSize: 12.5 x 19.0 in (31.75 x 48.26 cm)\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eMedium: Watercolor\u003c\/li\u003e\n\u003cli\u003eMaterial: Paper\u003c\/li\u003e\n\u003cli\u003eSignature: Signed\u003c\/li\u003e\n\u003cli\u003eCirculation status: One of a kind\u003c\/li\u003e\n\u003cli\u003eFrame Status: Unframed\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong data-end=\"119\" data-start=\"78\"\u003eVintage Condition Disclaimer\u003c\/strong\u003e\u003c\/span\u003e\u003cbr data-end=\"122\" data-start=\"119\"\u003e\u003c\/strong\u003ePlease note that this item is vintage and shows wear consistent with age, use, and history. Signs of wear may include, but are not limited to, minor surface marks, patina, fading, or imperfections typical of older items. All items are sold\u003cstrong\u003e as-is\u003c\/strong\u003e, which is standard with vintage and pre-owned goods and cannot be returned on the basis of condition. Measurements are approximate. We do our best to describe items accurately; however, condition assessments are subjective. If you would like additional details, images, or clarification before purchasing, please contact us through the contact form.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eSpecial Condition Notes\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eN\/A\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eProvenance*\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1969 - Unknown\u003c\/strong\u003e: Robert Lohman\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUnknown - 2026\u003c\/strong\u003e: Private Collector\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2026\u003c\/strong\u003e: Ripley's Auctions\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2026 - Present\u003c\/strong\u003e: Visard Gallery\u003c\/p\u003e\n\u003ch6\u003e\u003cem\u003e*Provenance and attribution details are based on our best research and are offered in good faith but are not guaranteed. Please contact us through the contact form with any questions prior to purchase.\u003c\/em\u003e\u003c\/h6\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eAcademic Resources\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003ca href=\"https:\/\/www.dropbox.com\/scl\/fo\/7v6b697fdgsoyq7fv8z8r\/AOoojaiTQy2gQ6d3HFlYp5Y?rlkey=b5y5kuh8vrwt3n9h2bg93ilkj\u0026amp;st=dhusmlzy\u0026amp;dl=0\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eRobert Lohman Research\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003ca style=\"color: rgb(80, 197, 215);\" href=\"https:\/\/www.dropbox.com\/scl\/fo\/azy0g1jiiuwoqobunfvnr\/AGNcmO5EW9EmfgkXAAtYTGg?rlkey=4fny60lhndc49gpfh98y8e84j\u0026amp;st=45vm26dt\u0026amp;dl=0\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search?q=Robert+Lohman\u0026amp;searchField=ArtistCulture\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eRobert Lohman Collection at the Met\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.nga.gov\/artworks\/177610-nature-obverse\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eRobert Lohman Collection at the National Gallery of Art\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Visard Gallery","offers":[{"title":"Default Title","offer_id":46702929969313,"sku":"ART198","price":450.0,"currency_code":"USD","in_stock":true}],"url":"https:\/\/visardgallery.com\/products\/lovers-robert-lohman-c-1969","provider":"Visard Gallery","version":"1.0","type":"link"}